The aim of this thesis was to better understand how music performance anxiety can be dealt with to not negatively affect my playing when performing solo piano music by heart in concerts. Another aim was that I would feel a lot more secure and confident on those occasions and that I would be able to focus more on the interpretation and expressing my emotions after this project. The field of MPA has been studied quite a lot but not broadly within the framework of artistic research. This thesis addresses two research questions: How might physical exercises decrease my experience of music performance anxiety? How might mental training decrease my experience of music performance anxiety? The methods used were preparing for three concerts with discovered strategies, keeping a video diary from two days before the concert until the concert day, taking video recordings of the concerts and analyzing the performance videos and video diaries using open coding and observing instimulated recall sessions. I then reflected on how the strategies helped me with the anxiety. As a result of this project, I have found a lot of strategies that help me with MPA. Physical exercises that I have found helpful are e.g., yoga, Zen meditation, deep relaxation, progressive muscle relaxation, regular aerobic exercise, short physical warm-up before the concert, focusing on breathing and releasing muscular tension when practicing and performing. The mental strategies included mental practicing, positive self-talk, identifying and eliminating catastrophic thinking, reinforcing themeaning in performing, having precise goals for the concert, practicing memorization and focusing on musical values when practicing and performing.

Performance anxiety affects individuals across many fields, from sports to medicine to music. Research in the area of Music Performance Anxiety (MPA) has been of particular importance to instrumental and vocal soloists and ensemble members for several decades. Throughout the COVID-19 pandemic, many musicians have been required to change the format and location of their performances. These adjustments, as well as musicians' existing unique characteristics and life experiences, may have impacted their experience of MPA. The purpose of this study was to examine the impact of the COVID-19 pandemic and other factors on MPA. Participants (N = 251) were recruited online via the Prolific platform, and completed an online survey containing demographic questions, a COVID impacts survey, and measures of individual characteristics (TIPI, NCS-18), mentorship experience (MFQ-9), retrospective state MPA in both 2020 and 2022 (CSAI-2R), and trait MPA (K-MPAI-R). A hierarchical regression was performed to explore if gender, age, musical experience (i.e., number of genres and instruments performed), extraversion, COVID impacts (general and musical), mentorship experience, and cognitive style predicted severity of trait MPA. Age, number of musical instruments performed, and extraversion were found to be significant predictors of trait MPA. Ultimately, this research has aimed to contextualize MPA within a national landscape significantly transformed by the COVID-19 pandemic.

The troubling negative effects of music performance anxiety (MPA) have remained less investigated under ensemble settings and with undergraduate non-music majors than under solo settings with music majors and professional musicians. This study examined the experience and prevalence of music performance anxiety in ensemble rehearsal and concert settings in 166 undergraduate non-music majors, 108 undergraduate music majors, 4 undeclared undergraduates, 9 graduate non-music majors, and 14 graduate music majors. The participants (instrumentalists and vocalists) were drawn from 10 Mid-Atlantic colleges and universities. The Kenny Music Performance Anxiety Inventory Revised (K-MPAI-R; Kenny, 2009) was administered within the last six weeks of the semester. Students reported the full range of cognitive, somatic, affective, and behavioral symptoms of MPA, with cognitive symptoms most frequently reported. The factor structure of the K-MPAI-R was found to be stable with those factor structures previously established by Kenny using elite professional musicians and tertiary-level music students. The results of a standard multiple regression conducted to identify unique predictors of MPA indicated that although depression, being an instrumentalist, being female, and having had a music performance breakdown, all made significant contributions to K-MPAI-R scores, and depression made the strongest unique contribution (beta = .42, p < 0.001). Greater self-efficacy (as indicated by higher scores on confidence statements in the K-MPAI-R) was correlated with lower MPA under both concert (r = .49, p < 0.0005) and rehearsal settings (r = .52, p < 0.0005). Students with higher depression indicator scores exhibited higher MPA than students with lower depression indicator scores (WT = 31.40, p < 0.001). Music performance breakdowns occurred more often during solos than ensemble performances and memory lapse (16.3% of all students) was cited as the leading cause of music performance breakdowns. Overall, MPA and depression indicator scores for the sample were high compared with other groups that had been previously evaluated with the K-MPAI-R and the same depression screen. Instructors should therefore be sensitive to the possibility that ensemble musicians may experience significant negative effects of MPA during both concerts and rehearsals, and apprise themselves of evidence-based treatment options and coping strategies available for MPA.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-19T17:48:52Z No. of bitstreams: 1 Arquivototal.pdf: 3910935 bytes, checksum: 5bccd9608f461bf57145bba5531cc099 (MD5) / Made available in DSpace on 2016-09-19T17:48:52Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3910935 bytes, checksum: 5bccd9608f461bf57145bba5531cc099 (MD5) Previous issue date: 2016-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this research is to understand how a group of musicians of the Universidade Federal da Paraíba (UFPB) are using strategies to control musical performance anxiety (MPA). A group of undergraduate and graduate music students was asked to respond the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire to assess their MPA level along with semi-structured interview, which was recorded for later analysis. In this dialogue, the subjects explained in detail how they are affected by the MPA and the strategies they use for its control. Reported strategies were: spirituality (prayer), use of beta-blockers, meditation routines to focus upon performance, consultation of self-help literature, self-talk, breath control, physical activity, positive perception of arousal, relaxation techniques, acceptance of small errors, switch instruments, simulation of performance and mental practice. The results confirm the existence of the MPA within the group studied and showed how it adversely affects the performance in some of the subjects. It also showed the lack of a systematic use of the different strategies to deal with the MPA. / O objetivo desta pesquisa é entender quais são as diferentes estratégias para o controle da Ansiedade na Performance Musical (APM) utilizadas por músicos da Universidade Federal da Paraíba (UFPB). Para isto, foi selecionado um grupo de estudantes de música dos cursos de Licenciatura em Música, Bacharelado em Música e Pós-graduação em Práticas Interpretativas. Eles então responderam ao questionário Kenny Music Performance Anxiety Inventory (K-MPAI) para avaliar seu nível de APM e a uma entrevista semiestruturada, que foi gravada para posterior análise, na qual os sujeitos explicaram detalhadamente como são afetados pela APM e as estratégias utilizadas para seu controle. As estratégias reportadas foram: espiritualidade (oração), uso de betabloqueadores, autoconvencimento (self-talk), rotinas para se concentrar no momento da performance, consulta de textos de autoajuda, prática mental, simulação da performance, atividade física, aceitação de pequenos erros, percepção positiva da excitação, controle da respiração, técnicas de relaxamento e até mesmo “trocar para outro instrumento”. Os resultados desta pesquisa confirmam a existência da APM dentro do grupo estudado e mostram como ela afeta negativamente a performance de alguns dos sujeitos. Também mostra a falta de um uso sistemático das diferentes estratégias para o controle da APM.

Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning med fokus på improvisation. Vilka metoder och material använder pedagogerna? I studien valdes en kvalitativ metod, baserat på forskningsintervjuer med tre olika musiker och pedagoger inom improvisation. Det kompletterades genom att utforska befintlig litteratur inom improvisation och MPA. Studiens resultat påvisar att samtliga informanter hade stora erfarenheter och personliga upplevelser av både improvisation och MPA samt kopplingar däremellan och att MPA är ett förekommande fenomen inte bara inom konstmusik utan även bland jazzmusiker. Resultaten påvisar även att MPA framställs som något mindre vanligt bland jazzmusiker än hos klassiska musiker. Det finns inom jazzkulturen en reservation mot att visa tecken på svagheter som nervositet och prestationsångest. Förhoppningvis kan studien bidra till att lyfta ämnet MPA inom jazz och populärmusik, då det tidigare inte varit så beforskat inom dessa genrer. En vidare aspiration är att uppmärksamma musikpedagoger på hur de kan hjälpa elever som upplever svårigheter i improvisationsundervisning. / The subject of the study was improvisation and improvisational teaching in relation to the concept of Music Performance Anxiety (MPA) and possible connections between them. MPA is most easily described as feelings of anxiety in connection with playing music. The purpose of the study was to explore Music Performance Anxiety from a jazz musician's perspective. Is it possible to feel performance anxiety in a context where it is not really possible to "play wrong"? Comparisons with classical music therefore become relevant. A further purpose was to find tools to be able to draw attention to and help students with MPA in ensemble teaching with a focus on improvisation. What methods and materials do the educators use? In the study, a qualitative method was chosen, based on research interviews with three different musicians and educators in improvisation. It was supplemented by exploring existing literature in improvisation and MPA. The results of the study show that all informants had great experiences and personal experiences of both improvisation and MPA as well as connections between them and that MPA is a common phenomenon not only in art music but also among jazz musicians. The results also show that MPA is presented as somewhat less common among jazz musicians than among classical musicians. There is a reservation in jazz culture against showing signs of weaknesses such as nervousness and performance anxiety. Hopefully, the study can help to raise the topic of MPA in jazz and popular music, as it has not previously been so researched in these genres. A further aspiration is to draw the attention of music educators to how they can help students who experience difficulties in improvisational teaching.

Syftet med studien är att undersöka hur musiklärare inom musikskola, gymnasiet och högskola ser på och arbetar med nervositet och scenskräck i undervisning. Studiens teoretiska grund utgörs av diskurspsykologi. Fokusgrupper har tillämpats som datainsamlingsmetod vilket inneburit två olika gruppsamtal där lärare diskuterat om ämnet scenskräck och nervositet. Samtalen spelades in, transkriberades och analyserades utifrån en diskurspsykologisk synvinkel i ett sökande efter tolkningsrepertoarer. Resultatet presenteras utifrån tolkningsrepertoarer om hur lärarna formulerade sin syn på nervositet. Två motstridiga repertoarer framkom i resultatet: nervositet som plötsligt angripande och nervositet som kan bemästras där nervositet konstruerades som både ett störningsmoment och som något önskvärt. Ålder, mognad och musikalisk utveckling formulerades påverka nervositet genom tolkningsrepertoaren nervositet ur ett mognadsperspektiv. Vidare formulerade respondenterna sitt arbete med nervositet och scenskräck i undervisning vilket synliggjorde tolkningsrepertoaren genre och arbete med nervositet. I denna tolkningsrepertoar lyftes genre som påverkande för arbetet med nervositet. I repertoaren läraren som terapeut konstruerade lärarna sig som inkännande utifrån samtal som metod. Repertoaren mental träning som fenomen formulerade ett förebyggande arbete som något värdefullt men tidskrävande, vilket kan ställas emot repertoaren nervositet som tidskrävande arbete där lärarna formulerade en tidsbrist och en känsla av otillräcklighet i arbetet med nervositet. Diskussionen lyfter resultatet i förhållande till tidigare forskning och litteratur där fyra områden diskuteras: Lärares syn på nervositet och elevpåverkan, hantera nervositet genom samtal, arbetet med nervositet i förhållande till tidsamt syn på nervositet och genrers påverkan. / The purpose of this study is to investigate how music teachers in music school, upper secondary school and music college view and work with nervousness and stage fright in teaching. The theoretical framework of the study is discourse psychology. Focus groups have been used as a data collection method, which has involved two different group discussions where teachers discussed the topic of stage fright and nervousness. The conversations were recorded, transcribed and analyzed from a discourse psychological point of view, in search of interpretative repertoires or small discourses. The result is presented through different interpretive repertoires on how teachers formulated their views on nervousness and stage fright. There, two contradictory repertoires emerged: nervousness as suddenly attacking and nervousness that can be mastered, where nervousness was constructed as both a disturbing moment and as something desirable. Age, maturity and musical development were formulated to influence nervousness through the interpretative repertoire nervousness from a maturity perspective. Furthermore, the respondents formulated their work with nervousness and stage fright in teaching, which made visible the interpretation repertoire genre and work with nervousness. There, the genre was emphasized as influencing the work on nervousness. In the repertoire teacher as a therapist, teachers constructed themselves as empathetic through conversation as a method. The repertoire mental training as a phenomenon formulated a preventive work as something valuable but time-consuming, which can be put opposite the repertoire nervousness as time-consuming work, where the teachers formulated a lack of time and a feeling of insufficiency. The discussion lifts the result in relation to previous research and literature where four areas are discussed: Teacher’s view on nervousness and student influence, dealing with nervousness through conversations, work with nervousness in relation to time and views on nervousness and the influence of genres.

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.

Made available in DSpace on 2015-05-14T12:52:27Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 2281149 bytes, checksum: d14380e3a4dd073ce04f00366150d758 (MD5) Previous issue date: 2012-09-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study investigated and analyzed the existence of music performance anxiety among music students of the Universidade Federal da Paraiba (UFPB), in the context of instrument music classes. In this survey 28 students coming from pre-college, undergraduate and graduate music program from UFPB took part, in a total of four classes coordinated by faculty members of the UFPB Music Department. As a research procedure psychological tests that assessed levels of state-trait anxiety, music performance anxiety and participant observation were applied. They were undertaken during the semester final recitals of each class. From the analysis, comparison and correlation of the results of psychological tests and participant observation, we found levels of state-trait anxiety above what was predicted by normative samples and consistent with those of studies conducted in other parts of the world, with orchestra musicians and professional choirs. We also found levels of anxiety in music performance similar to existing research, and clear physical signs and behavioral of musical performance anxiety. The analysis of research variables: gender, education, age, occupation and level of demand confirmed some of the assumptions in the literature and brought new findings, which opened space for further discussion and research. These results confirm the hypothesis that anxiety in music performance is a widespread phenomenon that can affect musicians of any age, level or technical training, from students to professionals. Therefore, our data are indicative of the existence of actual music performance anxiety among music students of the UFPB, alerting us to the occurrence of a factor detrimental not only to performance, but also to the health and psychological well-being of musicians. / O presente trabalho investigou e analisou a existência da ansiedade em performance musical entre os alunos de música da Universidade Federal da Paraíba (UFPB), no contexto das classes coletivas de instrumento. Fizeram parte desta pesquisa 28 alunos vindos dos cursos de Extensão, Bacharelado, Licenciatura, e Pós-Graduação em Música da UFPB, participantes de quatro turmas coletivas, coordenadas por professores do Departamento de Música. Como procedimento de pesquisa foram aplicados testes psicológicos que avaliaram os níveis de ansiedade de estado-traço e ansiedade em performance musical e empreendida observação participante durante os recitais de final de semestre de cada uma das turmas. A partir da análise, comparação e correlação dos resultados dos testes psicológicos e da observação participante, encontramos níveis de ansiedade de estado-traço acima do que era previsto pelas amostras normativas e compatíveis com os de estudos realizados em outras partes do mundo, com músicos de orquestras e de corais profissionais. Também encontramos níveis de ansiedade em performance musical semelhantes aos de pesquisas existentes, além de sinais físicos e comportamentais visíveis. A análise das variáveis de pesquisa: gênero, escolaridade, idade, profissão e grau de exigência confirmou algumas das hipóteses presentes na literatura e trouxe novos achados, os quais abrem espaço para outras discussões e pesquisas. Estes resultados confirmam a hipótese de que ansiedade em performance musical é um fenômeno generalizado, que pode acometer músicos de qualquer idade, nível técnico ou formação, desde estudantes à profissionais. Ainda, os dados aqui obtidos são indicativos reais da existência de ansiedade em performance musical entre os alunos de música da UFPB, alertando-nos para a ocorrência de um fator prejudicial não só à performance, mas também a saúde e ao bem-estar psicológico do músico.

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.

O presente trabalho investiga a relação entre a prática consciente e sua influência na prevenção do desencadeamento e no enfrentamento do processo de prejuízo da performance musical em condições de pressão (choking). Participaram do estudo três estudantes do Curso Superior de Instrumento da Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Foram utilizados os Guias de Execução (performance cues) propostos por Chaffin e colaboradores (2002, 2006, 2008) como suporte para o desenvolvimento de habilidades cognitivas. Os procedimentos metodológicos utilizados para coleta de dados consistiram de questionários, relatos verbais obtidos de entrevistas semiestruturadas, relatos de estudo, registro em áudio e vídeo da obra escolhida e relatos de guias de execução assinalados nas partituras como registro de decisões interpretativas deliberadas. O suporte cognitivo fornecido pelo trabalho com os Guias de Execução proporcionou segurança emocional suficiente para o enfrentamento das situações de estresse de exposição e principalmente de avaliação e autoavaliação. A partir da compreensão dos elementos teóricos encontrados na literatura e dos resultados deste trabalho com a abordagem metodológica de Chaffin, proponho um modelo conceitual de performance musical afetada pela ansiedade e centrado nos processos de controle e gerenciamento da informação durante a performance musical. Relacionado à hipótese levantada nos estágios iniciais de elaboração da pesquisa, esse modelo permite explorar a presença e manutenção de afetos e pensamentos negativos durante a prática instrumental individual e sua relação com a ocorrência de eventos de choking, e a suposição de que o desenvolvimento de habilidades cognitivas, relacionadas ao planejamento, monitoração e avaliação da prática instrumental, possa reforçar os processos de controle e gerenciamento do estado ansioso, ao permitir um suporte cognitivo que minimize o sentimento de vulnerabilidade, incontrolabilidade e imprevisibilidade inerentes ao estado ansioso, contribuindo, assim, para a melhoria e prevenção de eventos de déficits cognitivo-motores em performance sob pressão. / This study investigates the relationship between conscious practice, and its influence in prevention and coping with the decrement process in musical performance under pressure (choking under pressure). The study included three students of the bachelor degree of instrument in Escola de Música e Belas Artes do Paraná – Campus I – UNESPAR, Curitiba, PR. Performance Cues proposed by Chaffin and colleagues (2002, 2006, 2008) were used as support for the development of cognitive skills. Methodological procedures used for data collection consisted of questionnaires, verbal reports obtained from semi-structured interviews, practice reports, audio and video records of the chosen work and analysis of performance cues assigned in the scores as records of deliberate interpretative decisions. Cognitive support provided by working with Performance Cues provide enough emotional security for dealing with stress exposure situations and especially with evaluation and self-evaluation. Based on the understanding of theoretical elements found in the literature and the results of this study with the Chaffin methodological approach, I propose a conceptual model of musical performance affected by anxiety focused on process control and information management during the musical performance. Related to the hypothesis in the early stages of the research, this model explores the presence and maintenance of negative feelings and thoughts during the individual instrumental practice and its relation to the occurrence of choking event. The model also explores the assumption that the development of metacognitive skills, related to planning, monitoring and evaluation of instrumental practice can improve the control and management process of the anxious state. This control can be achieved by allowing a cognitive support that minimizes the feeling of vulnerability, uncontrollability and unpredictability, thus contributing to the improvement and prevention of cognitive-motor deficits events in performance under pressure.